I became mad about music when I was ten years old. I had just arrived in mainland France from Corsica and I had lots of memories of long musical evenings involving singing and guitars.
I was obsessed with the guitar and decided to take a few lessons to see how I got on. I was fortunate to meet Louis Davalle, a student and disciple of Andrés Ségovia.

Louis Davalle became my teacher and remained so for several years during which he guided me through my classical guitar studies.
I then began playing in musical events and concerts and taught guitar both as a solo and ensemble instrument.

My concerts took me to foreign countries, I was thirsty for knowledge, I wanted to study different cultures, understand and increase my knowledge. It was then that I went to study music in Italy, Spain and Switzerland.
I met many musicians, some of whom I now include among my best friends. And it was during this period that I discovered the lute.

Naturally, I was already playing a number of transcriptions of lute music for the guitar but I became fascinated by the lute.
I decided to try and asked José Ribo, a lute maker, to build me my first lute. He also gave me advice about the instrument, how it should be held, etc. because at the time there was very little information available on the lute or its music.
I had lessons with Yasunori Immamura, Hopkinson Smith, Jorge Fresno and Rolf Lislevand. I studied not only the lute with them, but also the baroque guitar, theorbo and continuo playing.

I developed my career as a soloist and in ensembles playing in France and Europe; at present my time is divided between the South of France, where I live, and Paris.

I am a founder member and lutenist in the renaissance and baroque ensemble "La Régale", cittern and lute player in the medieval ensemble "dialogus de musica" as well as ceteriste and guitarist in the Corsican ensemble "a Murella".
In my teaching I have tackled the problem well-known to guitarists of the classical guitar and lute techniques ; the two techniques are often thought to be incompatible.

I offer guitarists the possibility of playing the renaissance lute and baroque guitar repertoires by sight reading ancient tablature, whatever the origin : Italian, Spanish or French (with a few tips about lute technique).
As far as the theorbo is concerned, even though it may have a fine solo repertoire, it is nevertheless considered a continuo instrument, its true vocation where it comes into its element.